A commitment to an understanding that is the ritual.

Much ingenuity has been shown in explaining certain parts of the ritual, but ingenuity can be dangerous to the art and drama that is the ritual.

 If the word dramatic is to be defined as a formal representation of character, then there is little of this in the ritual.

 The ritual is intensely subjective and personal.

 Anything is dramatic which has relation to human character. Whenever there is action or movement, when a character of one type meets a character of another type in such a way as to reveal the peculiarities of both, the result is a dramatic situation.

 There is no doubt that this broad interpretation of the word is the true one, one can associate with the ritual.

 But more than this, whenever an idea is put in such a way that men feel the concept behind it, whenever a scene is portrayed that it becomes a living expression of human experience, in short, whatever suggests the embodiment of character is dramatic.

From all of this it will be seen that there are two manifestations of the dramatic.

The direct, which shows itself in impersonation, such as the experiences of, and as, Hiram Abiff.

And, the indirect, which concerns descriptions or impressions of events or actions.

To the Mason who studies the ritual, the indirect is of greater importance than the direct. In fact, too frequent use of the impersonating or direct dramatic, will degrade the dignity and importance of much of the lessons taught within the ritual. That is to say, there is an exaggeration or greater influence exacted by the direct dramatic, while the indirect dramatic is ignored.

An example of this can be found with the lessons offered in the Canadian Ritual at the Northeast Angle. Many Masons have felt the direct dramatic state you were placed to, when asked to offer alms. This state, was a calculated direct dramatic impersonation. That the man was made to represent the ideal entrant in possession of the ideal virtue, makes a very dramatic impression. That the ideal virtue is demonstrated with an act of alms giving by the impersonation, identifies the act strongly within him.

That the essence of the lecture is possibly lost, plays no part for the mechanics of the direct dramatics. Yet when viewed from the perspective of the indirect dramatic, a full appreciation of the allegory that is the ritual can be experienced.

The essence of the lecture is stated near the beginning, as it states, “ and, from the foundation laid this evening, may you raise a superstructure perfect in its parts and honourable to the builder.” This statement bears little resemblance to the direct dramatic lesson of impersonation to the alms giver. Yet, it, in its self, the statement is the essence of the lesson of the lecture. Though the direct dramatic effect of the impersonation of the alms giver is what is lasting.

That the foundation laid is contained within the body of the lecture, is not disputed, but that the effect of the direct and indirect dramatic presence in the lecture can be and is mostly not understood, nor grasped by the initiate. This is neither by design nor by ignorance. It is a product calculated by the mechanics of the dramatic presentation of an allegorical narrative. It is through the understanding of the dramatic effects that the Mason commits himself to an understanding of the ritual.

A short while later we are introduced to the distinguishing characteristic of a Freemasons heart, this characteristic is identified as charity. In today’s vernacular this appears to be an excellent companion to the impersonation of the alms giver. In fact, it is. But not in the usage of today’s vernacular, which serves to reinforce the direct dramatic effect. If we view the literary language of the ritual as intended, we will see that charity is more rightly Love.

The distinguishing characteristic of a Freemason’s heart is love. Love of his fellow man, under the fatherhood of God. This is explained in the lecture thus; “On their behalf it is our usual custom to awaken the feelings of every newly initiated brother by making such claim upon his charity as his circumstances in life may fairly warrant.” Awaken the feeling of Love by calling upon that Love to assist on their behalf.

These are example of the indirect dramatic being overshadowed by the direct dramatic. We have all experienced this. There is no doubt that the ritual is dramatic, and that the attitude of the mind is sometimes so definitely accentuated, that the change from one emotion to another is almost like a dialogue, and that the accentuation of one passage of the dialogue, overshadows that of another. This effectively changes the attitude of the receptive mind to the direct, rather than the indirect dramatic. This contrast in attitude leads almost insensibly into a kind of formal dialogue where the direct is the only lasting effect. We must infer the dramatic spirit of the ritual from the nature and feelings of the lecture, and only by the dramatic spirit can the meaning be made clear.

Dramatic conceptions are found throughout the ritual. In fact, the whole ritual is in a sense dramatic. All of its stories and lectures are simple and concise. Wherever we have simplicity and vigour, the dramatic is found. It is the dramatic character of the ritual that makes it so inviting. There are involved reflections and moralisation’s, though, no long drawn out condemnations of the conduct of man, no preaching over events, or detailed descriptions. The characterisations live before us. Incidents are told with simplicity, and are left to be realised by the soul itself. The ritual is dramatic. We feel acquainted with the various characters and situations portrayed. Man appears in weakness, and in strength.

The parables are dramatic, the situations are human, the accounts short and pointed, the dispositions and motives of the human heart are laid bare.

This is not the time to enter in to a discussion of the infinite number of illustration of the dramatic found within the ritual. The Mason must experience these upon his own journey. All that can be undertaken this evening is to give illustrations and hopefully an appreciation of the mode of action, which characterises dramatic instinct. The dramatic idea implies action, expression.

The dramatic instinct is primarily dependent upon imagination and sympathy. The dramatic instinct of the human heart creates characters and situations and reveals them simply and naturally. If the Mason’s imagination and sympathy are awaken, he becomes a living spectator of the human soul. He will then feel the dignified simplicity that is the ritual. Without a proper conception of the character of the dramatics, the key to the concept of the ritual will be lost.

From all of this we have seen that there are two manifestations of the dramatic spirit; the direct, which shows itself in impersonation, and the indirect, which concerns descriptions or impressions of events or actions. And to the Mason, the indirect is of greater importance than the direct. In fact, too frequent use of the impersonating or direct dramatic will degrade the dignity and importance of the ritual. That is to say, there is an exaggeration of the direct dramatic, while the indirect dramatic was ignored.

The proper dramatic interpretation of the ritual, therefore, requires an imaginative realisation of situations, events, and actions, as well as characters, a suggestive manifestation of the emotion awakened. It expresses a primary instinct, the sympathetic identification of one soul with another. All true growth and progress are founded upon man’s altruistic intuition. The dramatic interests men because it is on the plane of sympathy. Mason’s love their fellow man and delight in action more than anything else, and dramatic art is the direct portrayal of life. The dramatic cause all to live and move, and leaves every man to judge and moralise for himself. Dramatic instinct is the most important requisite in all of public life, and all vocal interpretations. It makes everything a living reality. There is no time but present time. Man has only now. By the dramatic instinct he can see men as living beings in the midst of living situations, see abstract ideas and thought embodied in human beings. He can feel the motives that govern the human soul and the significance of the idea and events in relation to human character.

The dramatic lessons of the ritual are the Mason’s guide and interpreter.

The ritual.

It lives within us.

It grows with each interpretation.

It is not the drama of human life, but an allegory to the drama of human life.

Never, ever, separate the ritual from the human experience

Thank you, Brethren.

W. Bro. Wm. David Maddin,

District Masonic Education,

Beaverhills District,

Grand Registry of Alberta